HOMO FABER 2026
Brock DeBoer
©All rights reserved
Brock DeBoer
©All rights reserved
Brock DeBoer
©All rights reserved
Brock DeBoer
©All rights reserved
Brock DeBoer
©All rights reserved

Brock DeBoer

Porcelain crafting

Joshua Tree, CA, USA

Nostalgia preserved in porcelain

  • Brock transforms everyday objects into porcelain art
  • He blends elements from different eras of pop culture, reaching back to his teenage years
  • In his use of Delftware patterning, he connects with a deeper family history

A youthful pursuit of sports, sneaker collecting and skateboarding became a source of inspiration for Brock DeBoer when he discovered a passion for ceramics and porcelain. While honing his skills in his craft, he reflected on ordinary yet meaningful objects from his childhood. “I began to think about how their transient materials and limited shelf lives could be preserved, along with the fond memories that accompanied them,” he says. Brock was soon creating pieces such as ceramic sneakers and igloo coolers, often adorned with gilding or blue and white Delft-like patterns. In his practice today, he continues to turn commonplace items into permanent objects of beauty, creating an unexpected juxtaposition of imagery, time and place.

Brock DeBoer is a rising star: he began his career in 2018.

INTERVIEW

My high school art teacher and my college studio professor were invaluable mentors. One sealed my bond with clay while the other taught me to express my voice through stories and objects. This influenced my choice to attend the Kansas City Art Institute.

A moment remembering my grandparents’ Delft tchotchkes, including a porcelain shoe, sparked a sudden connection. I began researching Delft tradition and visited a manufacturer in the Netherlands. With my Dutch name, it felt to me like something ancestral was resurfacing.

I primarily use slip casting and wheel throwing. My moulds are made from real objects, perfectly capturing every detail of the original. Patterns are applied using rice paper and underglaze decals, and I fire them in one of my two large kilns.

The objects and criteria are evolving as a larger idea emerges. I am interested in how the past influences the present, and how that concept extends to future works. I am drawn to making methods and aim to incorporate wood, metal and glass in my practice.